See also:

• REBAB, or RABAB (Persian rubab;2 Arabic rebab, rababa;3 Sp. rave, rabe,' rabel, arrabel, arrabil;s Fr. rubebe; It. rubeba)

REBAB, or RABAB (See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian rubab;2 Arabic rebab, rababa;3 Sp. rave, rabe,' rabel, arrabel, arrabil;s Fr. rubebe; It. rubeba)  , an See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient stringed See also:

• INSTRUMENT (Lat. instrumentum, from insincere, to build up, furnish, arrange, prepare)

instrument, having a See also:

• BODY

body either See also:

• PEAR (Pyrus communis)

pear-shaped or See also:

• BOAT (0. Eng. bdt; the true etymological connexion with Dutch and Ger. boot, Fr. bateau, Ital. battello presents great difficulties; Celtic forms are from O. Eng.)

boat-shaped and the characteristics of vaulted back and the See also:

• ABSENCE (Lat. absentia)

absence of See also:

• NECK (O. Eng. hnecca; the word appears in many Teutonic languages; cf. Dutch ride, Ger. Nacken; in O. E. the common word was heals; cf. Ger. Hals)

neck; also a generic See also:

• MODERN

modern Arabic See also:

• TERM

term applied by the Mahommedans of 'See also:

• NORTHERN

northern See also:

• AFRICA
• AFRICA, ROMAN

Africa to various stringed See also:

• INSTRUMENTS

instruments played with a See also:

• BOW (pronounced " bo ")

bow . As the See also:

• REBAB, or RABAB (Persian rubab;2 Arabic rebab, rababa;3 Sp. rave, rabe,' rabel, arrabel, arrabil;s Fr. rubebe; It. rubeba)

rebab exercised a very considerable See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on the See also:

• HISTORY

history of stringed instruments in See also:

• EUROPE

Europe, and was undoubtedly the means through which the bow was introduced to the See also:

• WEST
• WEST, BENJAMIN (1738-1820)
• WEST, NICHOLAS (1461-1533)

West, it is necessary to examine its construction before deciding whether it may be accepted as the ancestor of the See also:

• VIOLIN

violin in deference to the claim made for it by certain modern writers.6 2 F . See also:

• RUCKERT, JOHANN MICHAEL FRIEDRICH (1788-1866)

Ruckert, Grammatik, Poetik and Rhetorik der Perser, nach dem 7" Bande See also:

• DES

des Heftes Kolzum (See also:

• GOTHA

Gotha, 1874), p . 80 . This See also:

• TRANSLATION

translation of the introduction to the Seven Seas contains a reference to musical instruments; the one translated Laute (See also:

• LUTE (Arabic al'ud, " the wood "; Fr. luth; Ital. liuto; Span. laud; Ger. Laute; Dut. luit)

lute) is rendered in See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian rubdb, a point ascertained through the courteous assistance of Mr A . G . See also:

• ELLIS (originally SHARPE), ALEXANDER JOHN (1814-189o)
• ELLIS, GEORGE (1753-1815)
• ELLIS, ROBINSON (1834- )
• ELLIS, SIR HENRY (1777-1869)
• ELLIS, WILLIAM (1794 – 1872)

Ellis, of the See also:

• ORIENTAL

Oriental See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

Department, See also:

• BRITISH

British Museum . ' Al-See also:

• FARABI [Abu Na*r Muhammad ibn Tarkhan ul-Farabi] (ca. 870-950)

Farabi, loth See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century, translation into Latin by J . G . Kosegarten, Alii Ispahenensis See also:

• LIBER

Liber . Cantilenarum . . . arabice editur adjectaque translatione adnotationibusque (Greifswald, 184o), vol. i. pp .

36, 41, 105, 109, &C . 'See poem by Juan See also:

• RUIZ, JUAN (c. 1283-c. 1350)

Ruiz, archipreste de See also:

• HITA, GINES PEREZ DE (1544?-16o5?)

Hita, 14th century, from MS. in library of the See also:

• CATHEDRAL

cathedral at See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo,-quoted by Mariano Soriano Fuertes, Hist. de la Musica espannola (See also:

• MADRID

Madrid), vol. i. p . 105 . ' From the Arabic See also:

• TREATISE

treatise of Mahamud Ibrain Axalchi, MS . No . 69, See also:

• ESCORIAL

Escorial . e See F . J . See also:

• FETIS, FRANCOIS JOSEPH (1784–1871)

Fetis, See also:

• ANTOINE, ANDRE (1858- )

Antoine See also:

• STRADIVARI, ANTONIO (1644-1737)

Stradivari . Precede de recherches historiques et critiques sur ''origin et See also:

• LES

les transformations des instru- The two See also:

• PRINCIPAL

principal forms of rebab with which we are concerned as prototypes of See also:

• EUROPEAN

European instruments of the See also:

• MIDDLE

middle ages are: (I) the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long and narrow boat-shaped rebab, which may be traced back to See also:

• PERSIA

Persia in the 8th century B.C., and is still in use in that See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country; and (2) the lute-shaped rebab, with rudimentary neck consisting of the See also:

• GRADUAL (Med. Lat. gradualis, of or belonging to steps or degrees; gradus, step)

gradual narrowing of the body, which has the outline of a See also:

• LONGITUDINAL

longitudinal See also:

• SECTION
• SECTION (Lat. sectio, cutting, secare, to cut)

section of a pear . This variety became very popular in See also:

• MEDIEVAL

medieval Europe under the names of See also:

• REBEC, or REBECK (Med. Fr. rubebe, rebelle, rebec, gigue; Ger. Rubeba, Rebek, Geige, Lyra ; Ital. ribeba, ribeca, lyra; Sp. rabel, rabeca, rave, rabe)

rebec, gigue, See also:

• GEIGE (O. Fr. gigue, gige; O. Ital. and Span. giga; Prov. gigua; O. Dutch gigue)

geige and See also:

• LYRA (" The Harp ")

lyra; the archetype has been traced back to moo B.C . The most characteristic feature in the construction of the rebab, and of all instruments derived from it, was the body, composed of a back originally scooped out of a solid piece of See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

wood, to which was glued without the intermediary of ribs (an important structural feature of the violin) a See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

flat See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound-See also:

• BOARD (O. Eng. bord)

board of See also:

• PARCHMENT

parchment or thin wood .

The rebab-esh-sha'er, or " poet's rebab," had a body consisting of an almost rectangular See also:

• BOX
• BOX (Gr. irl or, Lat. buxus, box-wood; cf. 2r6Eir, a pyx)

box covered with parchment and sup-ported on an See also:

• IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

• FOOT

foot; the instrument was held like the modern See also:

• VIOLONCELLO (Fr. violoncelle, Ger. Violoncell, Ital. violoncello)

violoncello . No See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence has yet been brought forward that the rebab-esh-sha'er was in use among the See also:

• ARABS

Arabs who conquered See also:

• SPAIN
• SPAIN (Espana)

Spain in the 8th century; if the instrument was indeed ever introduced into Spain it has See also:

• LEFT

left no trace . The bowed instruments of the middle ages fall naturally into two distinct classes, according to the principles observed in construction . One is the type having a body formed on the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of a See also:

• GREEK
• GREEK, ETRUSCAN AND

Greek or a See also:

• ROMAN

Roman See also:

• CITHARA (Assyrian chetarah; Gr. KcOhpa; Lat, cithara; perhaps Heb. kinura, kinnor)

cithara, from which it was evolved by the addition of a neck and See also:

• FINGER

finger-board (see See also:

• GUITAR (Fr. guitarre, Ger. Guitarre, Ital. chitarra, Span. guitarra)

GUITAR and GUITAR-See also:

• FIDDLE (O. Eng. fithele, fidel, &c., Fr. vide, viole, violon; M. H. Ger. videle, mod. Ger. Fiedel)

FIDDLE) . Instruments of this type were at all times recognized as See also:

• SUPERIOR

superior and belonging.to the See also:

• REALM

realm of See also:

• ART

art, whereas type 2, derived from the Eastern rebab, never attained to any See also:

• ARTISTIC

artistic development, and at the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time when the first type had nearly reached its apogee the second was placed beyond the See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale of art . According to Al-Farabi, the rebab had either one See also:

• STRING

string, two strings or four, obtained by doubling these two; they were tuned most often in See also:

• MINOR
• MINOR (Lat. for smaller, lesser)
• MINOR, ROBERT CRANNELL (1839-1904)

minor thirds or in See also:

• MAJOR
• MAJOR (Lat. for " greater ")
• MAJOR (or MAIR), JOHN (1470-1550)

major thirds.' The Arab See also:

• SCHOLAR, SCHOLARSHIP

scholar Ash-Shakandi, who flourished in Spain about A.D . 1200, states that the rebab had been known for centuries in Spain, but was not mentioned on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of its want of artistic merit . Juan Ruiz, archipreste de Hita, in his enumeration2 of the musical instruments in use in his See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day (14th century), mentions two rebabs, and speaks of it rave gritador See also:

• CON

con sit alta See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note and it rabe morisco; the " shrill rebab " (or rather rebec) " with its high note " is thus quoted somewhat contemptuously already in the 14th century . The history of the origin of the rebab had until now not gone back beyond the 7th century A.D., and has been a See also:

• MATTER

matter of conjecture founded on the word rubab or rubab, which is of Persian origin, and on the statement that the Arabs themselves declare they obtained the instrument from the Persians . See also:

• RECENT

Recent archaeological discoveries, however, provide abundant evidence of archetypes of both pear-shaped and boat-shaped rebabs in high antiquity . We have at See also:

• PRESENT

present no See also:

• CLUE

clue to the name of the archetype, but it is clear that the el-Oud or lute of the Arabs and the wide pear-shaped rebab were practically one and the same instrument, until the See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of the bow, which had probably also been made known to the Arabs through the Persians, since their word for the bow, kaman, is borrowed from the Persian, but at what date is unknown . Al-Farabi does not mention the bow,' and his See also:

• CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter on the rabdba does not See also:

• DEAL

deal with the construction of the instrument so much as with the See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production of sound and the divisions of the See also:

• SCALE
• SCALE (1) A

scale .

As far as is known at present, the archetype of the rebab and lute See also:

• FAMILY

family is the instrument shown in fig . 1 . The terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta figure of the musician discovered in See also:

• EGYPT

Egypt (1905–6) by See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

• FLINDERS, MATTHEW (1774-1814)

Flinders See also:

• PETRIE, GEORGE (179o-1866)
• PETRIE, WILLIAM MATTHEW FLINDERS (1853– )

Petrie during the course of excavations in the See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery of See also:

• GOSHEN

Goshen 4 is Greek See also:

• WORK

work of the See also:

• POST

post-Mycenaean See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age; it was ments a archet (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1856) ; See also:

• EDWARD

Edward See also:

• HERON (Fr. heron; Ital. aghirone, airone; Lat. ardea; Gr. ipw&bs: A.-S. hragra; Icelandic, hegre; Swed. hager; Dan. heire; Ger. Heiger, Reiher, Heergans; Dutch, reiger)

Heron See also:

• ALLEN, BOG OF
• ALLEN, ETHAN (1739–1789)
• ALLEN, GRANT CHARLES GRANT BLAIRFINDIEI, (1848–1899)
• ALLEN, JAMES LANE (1850– )
• ALLEN, JOHN (1476–1534)
• ALLEN, or ALLEYN, THOMAS (1542-1632)
• ALLEN, WILLIAM (1532-1594)
• ALLEN, WILLIAM FRANCIS (183o-1889)

Allen, Violin-making as it was and is (See also:

• LONDON

London, 1884) ; E . J . See also:

• PAYNE, PETER (c. 138o-1455)

Payne, See also:

• ARTICLE (from Lat. articulus, a joint)

article " Violin " in See also:

• GROVE (O.E. graf, cf. O.E. gr(efa, brushwood, later" greave "; the word does not appear in any other Teutonic language, and the New English Dictionary finds no Indo-European root to which it can be referred; Skeat considers it connected with " grave," to
• GROVE, SIR GEORGE (182o-1900)
• GROVE, SIR WILLIAM ROBERT (1811-1896)

Grove's See also:

• DICTIONARY

Dictionary of See also:

• MUSIC

Music (1st ed.) . See also The Instruments of the See also:

• ORCHESTRA (Fr. Orchestre; Ger. Kapelle, Orchester; Ital. Orchestra)

Orchestra (London, 1910), See also:

• PART

part ii., " Precursors of the Violin Family," by Kathleen Schlesinger, where the See also:

• EVOLUTION

evolution of the violin is traced from the cithara of the Greeks . ' See J . P . N . See also:

• LAND

Land's See also:

• PAPER
• PAPER (Fr. papier, from Lat. papyrus)

paper, " Recherches sur 1'histoire de la gamme arabe," VI . Intern . Orient .

See also:

• CONGRESS (Lat. congressus, coming together, from congredi; cum, with, and gradus, step)

Congress, part ii . (See also:

• LEIDEN

Leiden, 1884) (Brit . See also:

• MUS

Mus. See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press-See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark, acad . 8806), p . 130, and also p . 56 . 2 See Mariano Soriano Fuertes, loc. cit . 3 The copy of Farabi's MS., used for their See also:

• TRANSLATIONS

translations by Kosegarten and Land, Escorial, No . 911, See also:

• DATES

dates from the middle of the 12th century . See See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael See also:

• CASIRI, MIGUEL (1710-1791)

Casiri, Bibl . Arab . Hisp., vol. i. p .

347, and See also:

• FORKEL, JOHANN NIKOLAUS (1749-1818)

Forkel, Allgemeine Litteratur der Musik (See also:

• LEIPZIG

Leipzig, 1792), p . 487; also R . G . Kiesewetter, See also:

• DIE
• DIE (Fr. de, from Lat. datum, given)

Die Musik der Araber nach Originalquellen dargestellt (Leipzig, 1842), p . 64 and See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface . Another MS. copy of Al-Farabi, in the Bibliotheca Ambrosiana in See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, is described by See also:

• HAMMER, FRIEDRICH JULIUS (1810-1862)

Hammer von . Purgstall in the Bibliotheca Italiana, torn. xciv . (Milan, 1839), p . 44; cf. preface in Kiesewetter, p. viii . ' Excavations carried out by the Brit . School of See also:

• ARCHAEOLOGY (from Gr. &pxa1a, ancient things, and Xoyos, theory or science)

Archaeology in Egypt and by the See also:

• EGYPTIAN

Egyptian See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

Research Account . See " See also:

• HYKSOS

Hyksos and Israelite Cities," by W .

M . Flinders Petrie and J . Garrow See also:

• DUNCAN
• DUNCAN, ADAM DUNCAN, 1ST VISCOUNT (1731-1804)
• DUNCAN, PETER MARTIN (1824-1891)
• DUNCAN, THOMAS (1807—1845)

Duncan, Mem . Brit . Sch. of See also:

• ARCH
• ARCH, JOSEPH (1826– )

Arch., 1906.found in surroundings assigned to the XXth See also:

• DYNASTY (Gr. &vvaareta, sovereignty, the position of a hevnori7r, lord, ruler, from SuvaaBay to be able, Suvaµas, power)

Dynasty (c. moo B.c.), and shows the earliest pear-shaped instrument yet discovered . This statuette clearly establishes the origin of the instruments named by some lyra,° by others (including the present writer) rebab or rebec, See also:

• COMMON

common all over western Europe from the 1th century, whose See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main characteristic is an almost entire absence of neck . Two terra-cotta statuettes of musicians playing upon ancient Persian rebabs (see fig . 2) have been excavated from the Tell at Suza' amongst See also:

• OBJECTS

objects referred to the reign of Shutruk-Nakhounta, who was See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king of See also:

• ELAM

Elam c . 789 B.C . The pear-shaped instrument, wide at the See also:

• BASE

base and elongated to See also:

• FORM (Lat. forma)

form a neck, with the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent back at right angles and the strings plucked by the fingers,—the lute of the 6th century A.D.,—is seen first on a See also:

• FRIEZE

frieze from See also:

• AFGHANISTAN

Afghanistan, forming one of the risers of steps to the tope of Jamal-Garhi . These sculptures, preserved at the British Museum, are assigned to the 2nd or 3rd century, and are said to show traces of classical influence . The same instrument is found engraved on a See also:

• SASSANIAN

Sassanian See also:

• SILVER

silver dish in the British Museum,'' of workmanship assigned to a See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period not later than the 7th century A.D., but probably earlier, as well as on other dishes of similar origin; one in the Hermitage, St See also:

• PETERSBURG

Petersburg, was found at See also:

• IRBIT

Irbit in 188o, on which See also:

• EROS

Eros is depicted playing the lute and See also:

• RIDING

riding on a See also:

• LION
• LION (Lat, leo, leonis; Gr. Mew)

lion.' A third, found at See also:

• PERM

Perm, forms part of See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Stroganov's collection.° Excavations carried out in ancient Khotan10 or Ilchi (See also:

• TURKESTAN
• TURKESTAN, or HAZRET

Turkestan, on the See also:

• CARAVAN (more correctly Karwan)

caravan route to See also:

• KASHGAR

Kashgar) have brought to See also:

• LIGHT

light further evidence of the ubiquity of the rebab type in See also:

• ASIA

Asia .

In addition to the two principal types of rebab (fig . 3) mentioned above there is also to be found the See also:

• SPOON (O. Eng. span, a chip or splinter of wood, cf. Du. spoon, Ger. Spahn, in same sense, probably related to Gr. r4 v, wedge)

spoon-shaped instrument with no neck and large See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round head (fig . 4), sometimes seen in European medieval sculptures and See also:

• MSS

MSS. of the Ilth and 12th centuries." The pear-shaped rebab or lute appears also among the celel rated paintings in the Buddhist See also:

• CAVE (Lat. cavea, from caves, hollow)
• CAVE, EDWARD (1691–1754)
• CAVE, WILLIAM (1637–1713)

cave temples of See also:

• AJANTA (more properly AJUNTHA)

Ajanta,12 assigned to the 6th century A.D . A later example at the British Museum, a fragment of a dish found at Rhajes or See also:

• RAY (Lat. raia)
• RAY (or WRAY, as he wrote his name till 1670), JOHN (1628-1705)

Ray,13 in northern Persia, ° See See also:

• LAURENT, FRANCOIS (1810–1887)

Laurent Grillet, Les ancee'tres du violon, &c . (Paris, 1901), tome i. p . 29 . Portail occidental de l'eglise de See also:

• MOISSAC

Moissac," 12th century . ' See Delegation en Perse, by J. de See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan (Paris, 1900), vol. i. pl . 8, Nos . 8 and 9, See also:

• TEXT (Lat. textum, woven fabric, from texere, to weave)

text, pp . 130 and 131 . ' See See also:

• ORMONDE, EARL AND MARQUESS OF
• ORMONDE, JAMES BUTLER, 1ST DUKE
• ORMONDE, JAMES BUTLER, 2ND DUKE OF (1665-1745)

Ormonde M .

See also:

• DALTON
• DALTON, JOHN (1766-1844)

Dalton, The Treasures of the See also:

• OXUS

Oxus, See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue of the See also:

• FRANKS
• FRANKS, SIR AUGUSTUS WOLLASTON (1826-1897)

Franks See also:

• BEQUEST (from 0. Eng. becwethan, to declare or express in words; cf. " quoth ")

bequest to the British Museum, 1905, pl. See also:

• XXVI

xxvi . No . 190 . ' See for an See also:

• ILLUSTRATION

illustration and description, Comptes rendus de la See also:

• COMMISSION (from Lat. commissio, committere)

commission imperiale d'archeologie pour l'annee z881 (St Petersburg, 1883), text, p . 53, and See also:

• ATLAS

atlas of the same date, pl. ii . No. lo . 9 See J . R . Aspelin, Antiquites du See also:

• NORD

nord, p . 141, No . 6o8 . 'o See Ancient See also:

• KHOTAN (locally ILcm)

Khotan, a detailed See also:

• REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

report of archaeological explorations in See also:

• CHINESE, JAPANESE AND

Chinese Turkestan, carried out by H.M .

See also:

• INDIAN

Indian See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government, by Marc Aurel See also:

• STEIN, CHARLOTTE VON (1742-1827)
• STEIN, HEINRICH FRIEDRICH KARL, BARON VOM

Stein (See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, See also:

• CLARENDON, CONSTITUTIONS OF
• CLARENDON, EDWARD HYDE, 1ST EARL OF (1609-1674)
• CLARENDON, GEORGE WILLIAM FREDERICK VILLIERS, 4TH EARL OF (in the Villiers line) (1800-r87o)
• CLARENDON, HENRY HYDE

Clarendon Press, 1907), vol. ii. pl. xlvi . Nos. See also:

• VOW (Lat. votum, vow, promise: cf. VOTE)

vow 1k, voolld (spoon-shaped rebab), pl. xliii . Nos. voo28 and Yoo9i . " See, for instance, Psalter of See also:

• LABEO, MARCUS ANTISTIUS (c. 50 B.C.–A.D. 18)

Labeo See also:

• NOTKER

Notker, loth century, Bibl . Stift St Gallen, on the See also:

• TOP (cf. Dan. top, Ger. Topf, also meaning pot)

top of left-See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand gable See also:

• PILLAR (0. Fr. piler, Mod. pilier, Late Lat. pilare, from pila, column)

pillar . Illustration in Kathleen Schlesinger, The Instruments of the Orchestra (London, 1910), part ii., " Precursors," pl. iv. p . 154 . 12 See reproductions by See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Griffiths (London, 1896), vol. ii. pl . 105, cave I., To, e . 13 Brit . Mus., Ceramic See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• CASE
• CASE, JOHN (d. 1600)

case A, See also:

• HENDERSON
• HENDERSON, ALEXANDER (1583-1646)
• HENDERSON, EBENEZER (1784-1858)
• HENDERSON, GEORGE FRANCIS ROBERT (1854-1903)
• HENDERSON, JOHN (1747-1785)

Henderson Bequest, 1891 . destroyed by Jenghiz See also:

• KHAN (from the Turki, hence Persian and Arabic Khan)

Khan in the 13th century, has the four pegs in the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side of the head .

Finally, we find the instrument on the From Marc . Aurel . Stein, Ancient Khotan, by permission of the Clarendon Press . from Khotan. rebab, from Khotan. See also:

• DOORWAY (corresponding to the Gr. Iran, Lat. porte)

doorway of the Hopital du Moristan' (See also:

• CAIRO
• CAIRO (Arabic Misr-al-Kahira, or simply Misr)

Cairo), carved work of the 13th century . In all these examples it is noteworthy that the strings are vibrated by plucking them with the fingers, not by means of the bow, the use of which, in See also:

• CONJUNCTION (from Lat. conjungere, to join together)

conjunction with those structural features, constitutes the violation of an acoustic principle, and therefore accounts for the failure of the instrument as Rebab and its successful development as Lute . There are, however, two See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early examples of bowed rebabs of See also:

• BYZANTINE

Byzantine origin to be cited . A pear-shaped rebab, held like a violoncello and played by means of a very long and slender bow, is carved on one of the reliefs of an See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory See also:

• CASKET

casket of See also:

• HALO

halo-Byzantine work of the 8th or 9th century, belonging to the Carrand Collection, See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence (see REBEC) . Another bowed instrument, of still earlier date, is to be seen among the wonderful mural paintings of the See also:

• NECROPOLIS

necropolis and monastery of Baouit,' assigned to the 8th century at the latest, but probably dating from the 6th or 7th . The examination of all these representations of the rebab, ranging from loon B.C. to the 13th century A.D., tends to show that the instrument had its origin in the See also:

• EAST
• EAST, ALFRED (1849- )

East, and was widely distributed over Asia Minor, See also:

• INDIA
• INDIA, FRENCH

India and Persia before the 6th century A.D . Similar archaeological documents of the middle ages suggest the possibility that we are not indebted to the Arabs alone for the introduction of the rebab and bow and of the lute into Europe by way of Spain, early in the 8th century, but that they had probably already made their way into See also:

• SOUTHERN

southern and central Europe from the East through the influence of the Byzantine See also:

• EMPIRE

Empire and of the See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

Christian East generally . It is clear also that the instruments of the rebab type were at first twanged with the fingers, and the bow was apparently not invented for the rebab but only applied to it . All arguments in favour of including the rebab among the ancestors of the violin on the See also:

• SCORE (O.E. scor, from sceran, to cut, notch, cf. " shear ")

score of the bow lose their force, and as the rebab possessed no structural feature in common with the violin the question may be considered settled negatively .

For the European development of the rebab, see REBEC . (K .